Derde deel uit Tati's Monsieur-Hulotserie. Monsieur Hulot moet in Parijs een Amerikaan ontmoeten, maar hij raakt verdwaald tussen de moderne architectuur. Als hij bij een groep Amerikaanse toeristen belandt, besluit hij met hen door de stad te trekken.
Een maatschappelijk succesvol tweeverdieners-gezin met dochtertje heeft een smetteloos schoongewassen auto en een keurig huis met inpandige garage. De dagelijkse rituelen, zoals het strikken van schoenveters en een bezoek aan de supermarkt, zijn echter allang niet zaligmakend meer.
De gepensioneerden Claude en François genieten van hun oude dag door hun tuintje buiten het dorp te bewerken. Op een avond krijgen ze bezoek van een buitenaards wezen. Claude biedt het schepsel een bord koolsoep aan en dat smaakt het wezen zo goed dat hij er een hele ketel van meeneemt in de ruimte. Ook op de moederplaneet valt Claudes soep enorm in de smaak...
De 9-jarige Gérard, zoontje van een rijke industrieel, woont in een futuristische villa waar alles automatisch gebeurt en heeft alles wat hij zich maar kan wensen, maar verveelt zich stierlijk. De jongen is dol op zijn oom Hulot, die in een eenvoudig huisje in een oude volkswijk woont en zo gelukkig is.
Vierde en laatste deel uit Tati's Monsieur-Hulotserie. Monsieur Hulot heeft een moderne auto uitgevonden die hij wil tonen op een belangrijke autoshow in Amsterdam, maar zijn reis vanaf Parijs loopt verre van probleemloos.
‘De jongen en de wereld’ vertelt over de epische tocht van een kleine jongen door een zowel feeërieke als sombere en onrustwekkende wereld. Wanneer hij op een dag ziet dat zijn vader hem en zijn moeder verlaat om elders werk te zoeken, blijft hij rusteloos achter. Het idyllische leven dat hij tot dan toe leidde, is verdwenen. Uiteindelijk houdt hij het niet meer uit en besluit op eigen houtje op zoek te gaan naar zijn vader. Hiermee begint een aangrijpende zoektocht die hem oog in oog brengt met de gevaren van de wereld van de volwassenen die hij met zijn kinderlijke blik doet veranderen in mechanische dieren en andere vreemde creaturen.
An aged father and his younger, mentally challenged son have been working hard every day to keep the bathhouse running for a motley group of regular customers. When his elder son, who left years ago to seek his fortune in the southern city of Shenzhen, abruptly returns one day, it once again puts under stress the long-broken father-son ties. Presented as a light-hearted comedy, Shower explores the value of family, friendship, and tradition.
Rush (Ìwàǹwara)" is a cautionary tale about the risks of divining head-first into online relationships and the misconceptions about love and material wealth. It also underscores the themes of redemption, the resilience of the human spirit, and the power of genuine love
A photographer awaits competition results while he wanders around Hong Kong across space and time, pondering his own relationship with love and death.
What happens when we meet in the street? Suddenly, mistakenly, intimately. Estranged, rushed, too much, too little, too late. Smiles, small talk, and promises.
Mr. Park raises his children by repairing charcoal pits. Although ignorant and stubborn, Mr. Park has a good heart. He is displeased, however, with his eldest daughter, Yong-sun (Jo Mi-ryeong), because of her close relationship with Jae-cheon (Hwang hae), who is a scamp in his eyes. He is also unsatisfied with his second daughter, Myeong-sun (Eom Aeng-ran), for liking Ju-sik (Bang Su-il). Only his eldest son, Yong-beom (Kim Jin-gyu), is the apple of his eye, as he approves of his son's wife, Jeom-rye (Kim Hye-jeong). When Yong-beom is sent to a foreign branch office, Mr. Park is against it at first but approves of it, as he knows what it means for his son's future. Eventually, too, he begins to approve of his two daughters' relationships.
In a world embracing change, Ajeng distances herself from her Javanese roots. She explores the consequences as she grapples with the clash between tradition and modernity. "Wicanten" is a poignant reflection on the evolving dynamics of language and its profound impact on personal and cultural connections.
The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch.
A visual celebration of Manhattan and its waterways on the 300th anniversary of purchase from the local Native Americans.
Bilike has never seen a ping-pong ball before. He and his family live without electricity and running water in a solitary tent home among the vast steppe grasslands. The magnificent landscape here has changed little since the days of Genghis Kahn. But life in the middle of nowhere can be exciting for a young boy. The smallest of details become big events for curious Bilike and his best friends Erguotou and Dawa. The mystery of the small white ball floating in the creek leads to questions about the world around them, as well as innocent mischief.
In the town of Xoco, the spirit of an old villager awakens in search of its lost home. Along its journey, the ghost discovers that the town still celebrates its most important festivities, but also learns that the construction of a new commercial complex called Mítikah will threaten the existence of both the traditions and the town itself.
A medical doctor, Ko, has three daughters. The first daughter, Suk-hee, confesses her past when her husband asks her to forgive his past, on the first night of their honeymoon. When he breaks off the marriage and goes to America, Suk-hee confines herself to her home for three years.
In order to wait for her lover Fan Chun-tak to finish his study in Australia, Tang Sau-man works as a governess in Chui Shek-wah's house. Chui is Fan's brother-in-law. Chui spoils his wife Fan Kam-ping. She becomes lazy and dependent on Tang. Fan finishes his study and returns. He decides to transform his elder sister. He asks her best friend, Pang Shui-ha, to persuade her. Pang has a crush on Fan. Pang uses this opportunity to get intimate with Fan. Tang originally thinks that after Fan comes back, she no longer has to live in somebody's shelter. But Fan spends all his time with Pang. Tang is unhappy and drinks to vent her unhappiness. Tang gets drunk and Chui takes care of her. However, Ping thinks that they have dubious relationship and throws Tang out. Tang falls down a slope and loses one leg. Fan is angry with himself and decides to marry Tang. Ping also realises that she is wrong. She decides to change her lazy character and takes care of the disabled Tang.
Just before the launch of artificial moons, a retired couple finds their harbor in the fading darkness. Trying to catch up with the pace of modernity, their daily life traces this forthcoming brightness back to its earthly origins.
Alessandro is a young immigrant of Italian origin, with a difficult past, who, after leaving his country of origin and moving permanently to Italy, finds himself in a complex existential dilemma when he is unable to converse with Pietro, his boyfriend, who has a vision of the world completely different from his. Thus a clash of different realities starts that can ruin everything. "Floating In The Liquid" is the first part of the "Trilogy of Work", written and directed by Vinicius Bellemo.